Bunny Day and the Mercy Buckets, as a name, tells potential listeners a couple of things. First, that they’re not your average rock band – indeed, there’s little that is rockist about them.
You might guess that they’re goofy, quirky, weird. They are, if you think that “normal” music means Jamie Foxx or Nickelback.
Also, if your skills include knowing some freshman-level French and/or enjoying puns, you might assume that this group is not only whimsical but also French-inspired. Their influences include diverse sources like polka, indie rock and, yes, French cabaret and chanson music.
“We've been really good friends for a long time, but we’d never lived in the same city before,” begins Lacey Guthrie, who plays accordion. “We had been courting each other musically. I would go to Lexington and do cover songs with her. Amy moved here, and we decided that it was just gonna happen.”
Now they write their own songs. Banjoist Amy Lee said, “We're good at writing when we're hungover. Sometimes it's together, sometimes it's not. It's hard to write without each other.”
Lee was inspired to begin playing her banjo after an Avett Brothers concert. Scott Avett let her play his instrument briefly, and “I decided that, ‘This is awesome, I want this for Christmas.’”
Guthrie began playing her instrument on “kind of a whim. I already played piano, and I thought they sound really sweet, so I went accordion hunting.” Recently, she bought a saw at Home Depot after hearing one played in an Ugly Casanova song. “I went online and found clips of old men playing them. They were really adorable, so I just learned from that.”
They recorded material for an EP last fall at the now-closed club Skull Alley. Guthrie said, “It was surprisingly difficult. We had some Bulleit bourbon, which we used for percussion.”
Now that the duo are neighbors, it will prove hard to keep them apart.
Lee said, ”If we had a falling out, I would never do music again. I would kill my banjo. I would light her accordion on fire. That's how I feel.”
Wednesday, March 23, 2011
music issue 2011 - Barefoot Best Friends
From the Chieftains to the Pogues, Celtic folk music has often been seen as a rugged, manly musical genre. Songs about the potato famine and The Troubles depict a rough life in a beautiful land.
Though La Grange is a lovely town in Oldham County, there’s little that is rough, rugged or manly about the Barefoot Best Friends. Louisville’s youngest group plays a lively, mostly instrumental strain of the music which reveals its role as a progenitor of Bluegrass music. The all-female members – Christina, Isabelle, Emmaly, Ellie, Lily and Jessie - range in age from 10 to 17.
The BBF girls, hailing from four families, have been BFFs for several years. They began playing together while working on a project for disability awareness in school, said Patti Beth Miller, mother of Ellie and Jessie.
“Three summers ago,” Miller said, “I was selling flowers at the La Grange Farmers Market. I suggested that if they played there next to me, they might get tips. So they started looking for music that they would all enjoy playing together.”
The girls share an appreciation for Celtic and mountain music, and are generally uninterested in pop music. “Barefoot Best Friends is fiddle music, more like dance music,” relates 13-year-old Emmaly, a violinist. During the nice months, they continue to perform at the Farmers Market, in addition to other performances around the region.
Several of the parents are musicians, and often played public radio while driving the girls around. “I heard banjo on the radio, and I asked my dad what it was,” said her 10-year-old sister Christina. What she heard was “Snowden’s Jig,” a old-timey string song by the Carolina Chocolate Drops.
“I decided I was going to learn, so I got lessons. “ Initially trained on piano, she also plays accordion, washboard and now, “banjo is pretty easy,” she said. “I have the hang of it. I try to practice every day, but it doesn't always work out that way.”
As to what the future might bring, the younger girls have voted to bring in a new member. The 16-year-old family friend, who also plays violin, is a boy.
Ten-year-old Christina mused, “I don't know if I'll make a career out of it, but I'll keep on playing as long as I can.”
c. 2011 Velocity Weekly
Though La Grange is a lovely town in Oldham County, there’s little that is rough, rugged or manly about the Barefoot Best Friends. Louisville’s youngest group plays a lively, mostly instrumental strain of the music which reveals its role as a progenitor of Bluegrass music. The all-female members – Christina, Isabelle, Emmaly, Ellie, Lily and Jessie - range in age from 10 to 17.
The BBF girls, hailing from four families, have been BFFs for several years. They began playing together while working on a project for disability awareness in school, said Patti Beth Miller, mother of Ellie and Jessie.
“Three summers ago,” Miller said, “I was selling flowers at the La Grange Farmers Market. I suggested that if they played there next to me, they might get tips. So they started looking for music that they would all enjoy playing together.”
The girls share an appreciation for Celtic and mountain music, and are generally uninterested in pop music. “Barefoot Best Friends is fiddle music, more like dance music,” relates 13-year-old Emmaly, a violinist. During the nice months, they continue to perform at the Farmers Market, in addition to other performances around the region.
Several of the parents are musicians, and often played public radio while driving the girls around. “I heard banjo on the radio, and I asked my dad what it was,” said her 10-year-old sister Christina. What she heard was “Snowden’s Jig,” a old-timey string song by the Carolina Chocolate Drops.
“I decided I was going to learn, so I got lessons. “ Initially trained on piano, she also plays accordion, washboard and now, “banjo is pretty easy,” she said. “I have the hang of it. I try to practice every day, but it doesn't always work out that way.”
As to what the future might bring, the younger girls have voted to bring in a new member. The 16-year-old family friend, who also plays violin, is a boy.
Ten-year-old Christina mused, “I don't know if I'll make a career out of it, but I'll keep on playing as long as I can.”
c. 2011 Velocity Weekly
music issue 2011 - Sandpaper Dolls
When "Don't Worry, Be Happy" hit the pop charts in 1988, many Americans were introduced to A cappella singing – and quickly dismissed it as a goofy trick. Bobby McFerrin's overly optimistic song nonetheless exposed an approach to pop music that continues today in unexpected places - like Louisville.
In an era when even the most obviously sexy pop group has little chance of succeeding in the music business, three women have joined to sing together, unencumbered by instruments that need to be played outside of one's own body, and unconcerned about the business of the music business.
The Sandpaper Dolls were all veterans of the local music scene when they met each other at downtown's late Jazz Factory. Suki Anderson worked there and had sung with the soul group a.m. Sunday. Amber Estes sang with the jazz groups Liberation Prophecy and the Todd Hildreth Trio. Rebecca Dennison sang with folk singer Jamie Barnes.
Anderson approached Estes about working together. Estes said, “We slowly peeled members and instruments away until we were left with just the voice. We decided on an A cappella trio and had a couple of people in mind, but then realized, who has a better voice than Rebecca? So we got together and sang in Suki's dining room and made animal noises until we had a band.”
In addition to more obvious vocal inspirations - The Staple Singers, The Pointer Singers, The Bulgarian Woman's Choir - the women have also been encouraged by composer Philip Glass, deep soul from Donny Hathaway to the Budos Band, and the experimentation of off-center pop artists like Bjork and Tom Waits.
They self-released a full-length live album, “Live at 21C,” recorded in the downtown hotel’s atrium, in 2009. Future goals include not only a studio album and touring, but also, according to Estes, “creating a silent movie soundtrack and forming a creepy choir.”
c. 2011 Velocity Weekly
In an era when even the most obviously sexy pop group has little chance of succeeding in the music business, three women have joined to sing together, unencumbered by instruments that need to be played outside of one's own body, and unconcerned about the business of the music business.
The Sandpaper Dolls were all veterans of the local music scene when they met each other at downtown's late Jazz Factory. Suki Anderson worked there and had sung with the soul group a.m. Sunday. Amber Estes sang with the jazz groups Liberation Prophecy and the Todd Hildreth Trio. Rebecca Dennison sang with folk singer Jamie Barnes.
Anderson approached Estes about working together. Estes said, “We slowly peeled members and instruments away until we were left with just the voice. We decided on an A cappella trio and had a couple of people in mind, but then realized, who has a better voice than Rebecca? So we got together and sang in Suki's dining room and made animal noises until we had a band.”
In addition to more obvious vocal inspirations - The Staple Singers, The Pointer Singers, The Bulgarian Woman's Choir - the women have also been encouraged by composer Philip Glass, deep soul from Donny Hathaway to the Budos Band, and the experimentation of off-center pop artists like Bjork and Tom Waits.
They self-released a full-length live album, “Live at 21C,” recorded in the downtown hotel’s atrium, in 2009. Future goals include not only a studio album and touring, but also, according to Estes, “creating a silent movie soundtrack and forming a creepy choir.”
c. 2011 Velocity Weekly
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